scholarly journals Tezauronimiczny „skarbczyk” sztucznej biżuterii. Kilka uwag o nazwach własnych „drugorzędnych klejnotów”

2021 ◽  
Vol 28 (2) ◽  
pp. 371-392
Author(s):  
Katarzyna Węgorowska
Keyword(s):  
Structural Analysis ◽  
Proper Names ◽  
Art Historians ◽  
Polish Art ◽  
Limited Edition

Imitation jewellery, also known as “secondary gems”, has been people’s companion from antiquity. Its representative objects, however, have rarely been assigned their individualised proper names – thesauronyms. As an answer to the appeal of Polish art historians and museologists: Ewa Letkiewicz, Katarzyna Kluczwajd, Monika Paś and Dorota Zahel, this study is an attempt at a linguistic and culturological presentation of thesauronyms that signify: a pair of earrings, collar, ring, fur fastener clip, necklaces, brooches, duette brooches, jewellery series, collections, lines, sets, limited edition. The attention is also drawn to the specificity of thesauronyms distinguishing similar jewellery items and thesauronyms denoting many various and completely different referents. Moreover, motivation analysis, semantic and motivation analysis, and structural analysis of the names of imitation jewellery names has been conducted. The findings allowed for redefining, verifying, supplementing and extending the term thesauronym.

Old Town, New Contexts

Uprooted ◽  
2011 ◽  
Author(s):  
Gregor Thum
Keyword(s):  
Historic Preservation ◽  
First World War ◽  
Historic Buildings ◽  
World War ◽  
The First World War ◽  
Art Historians ◽  
Polish Art ◽  
First World

This chapter details how Jan Zachwatowicz, Poland's General Conservator from 1945 to 1957, was the country's most powerful voice in the field of historic preservation. Not only did he personally direct the rebuilding of the devastated old towns of Warsaw, Gniezno, and Poznan, but in a widely regarded lecture delivered at the first postwar congress of Polish art historians in August 1945, he formulated the program for reconstructing Poland's historic buildings. Historic preservation was supposed to be limited to the conservation of buildings—in their existing state. However, when an independent Poland was reestablished after the First World War, exceptions were made to the principle of nonintervention, especially for historic buildings regarded as particularly significant for the Polish national cult.

scholarly journals Enter the Dragon

2019 ◽  
pp. 237-242
Author(s):  
Maria Poprzęcka
Keyword(s):  
Critical Thinking ◽  
Title I ◽  
Art History ◽  
Academic Life ◽  
Annual Conference ◽  
Academic Institutions ◽  
Art Historians ◽  
Heated Debate ◽  
History Of ◽  
Polish Art

The paper is a reminiscence of my first meeting with the colleagues from the Institute of Art History of Adam Mickiewicz University, which took place at an annual conference of the Association of Art Historians in 1974, titled “Reflection on Art.” Choosing an unusual title, I wanted to convey the impetus with which a group of young art historians from Poznań entered the decent and somewhat stagnant stage of Polish art history. The critique they presented was directed against Polish academic institutions, the problematic of the conference, the empty rituals of academic life, etc. Even though I did not accept all their objections, the heated debate suddenly turned out for me to be a liberating factor, stimulating continuous critical thinking which is an antidote for spiritual and intellectual captivity.

scholarly journals Crypto art: A decentralized view

Leonardo ◽  
2020 ◽  
pp. 1-8
Author(s):  
Massimo Franceschet ◽  
Giovanni Colavizza ◽  
T’ai Smith ◽  
Blake Finucane ◽  
Martin Lukas Ostachowski ◽  
...  
Keyword(s):  
Conceptual Art ◽  
Third Parties ◽  
Digital Art ◽  
Art Markets ◽  
Markets And Institutions ◽  
Art Historians ◽  
Emerging Themes ◽  
Limited Edition

Crypto art is limited-edition digital art, cryptographically registered with a token on a blockchain. Tokens represent a transparent, auditable origin and provenance for a piece of digital art. Blockchain technologies allow tokens to be held and securely traded without the involvement of third parties. Crypto art draws its origins from conceptual art: sharing the immaterial and distributive nature of artworks, the tight blending of artworks with currency, and the rejection of conventional art markets and institutions. The authors propose a collection of viewpoints on crypto art from different actors of the system: artists, collectors, galleries, art historians and data scientists. A set of emerging themes and open challenges surfaces.

scholarly journals Monachijski portret króla Zygmunta Augusta i uwagi o ikonografii ostatniego Jagiellona

Artifex Novus ◽  
2021 ◽  
pp. 24-43
Author(s):  
Jerzy Tadeusz Petrus
Keyword(s):  
Significant Contribution ◽  
16Th Century ◽  
Compositional Techniques ◽  
Royal Patronage ◽  
Art Historians ◽  
Polish Art ◽  
Pictorial Form

W zbiorach Bayerische Staatsgemäldesammlungen w Monachium jest przechowywany portret króla Zygmunta Augusta, który po ponad pół wieku poszukiwań przez polskich historyków sztuki został niedawno odnaleziony i zidentyfikowany. Ma on ogromne znaczenie dla ikonografii ostatniego Jagiellona bowiem, jak dotąd, jest jego jedynym znanym malarskim przedstawieniem w całej postaci, powstałym za życia modela. Wizerunek pozostaje w związku z miniaturowym portretem monarchy w popiersiu, dawniej w kolekcji arcyksięcia Ferdynanda II Tyrolskiego w Ambras, obecnie w Münzenkabinett w wiedeńskim Kunsthistorisches Museum. Oba obrazy, tego samego autora, powstały na polskim dworze tuż przed połową XVI stulecia. Ich twórca był dobrze obeznany ze stosowanymi wówczas we Włoszech i cieszącymi się uznaniem kompozycjami portretowymi. Monachijski obraz trafił do bawarskich zbiorów Wittelsbachów, jak wszystko na to wskazuje, wraz z wyprawą ślubną królewny Anny Katarzyny Konstancji Wazówny, w roku 1642 wydanej za mąż za księcia neuburskiego Filipa Wilhelma. Należał do zespołu wizerunków członków rodziny Jagiellonów, zabranych do Bawarii przez Wazównę, lecz powstał w okolicznościach innych niż pozostałe portrety i jest dziełem o odmiennej genezie artystycznej. Ujawniony w zbiorach monachijskich portret nie tylko w istotny sposób wzbogaca ikonografię ostatniego Jagiellona, lecz ma również znaczenie dla wiedzy o królewskim mecenacie. Summary: The Bayerische Staatsgemäldesammlungen collection in Munich houses a portrait of King Sigismund Augustus, which was recently discovered and identified by Polish art historians following a quest lasting more than half a century. It sheds important light on the iconography of the last Jagiellonian, as it remains to date the only known representation in pictorial form of the model during his lifetime. It is related to a bust portrait miniature of the monarch, formerly found in the collection of Archduke Ferdinand II of Tirol in Ambras, and nowadays on show in the Münzenkabinett in the Kunsthistorisches Museum in Vienna. Both paintings by the same artist were produced at the Polish court just before the mid-16th century. Their creator was well acquainted with the highly regarded compositional techniques used at the time in portraiture in Italy. All the evidence suggests that the Munich painting found its way into the Bavarian Wittelsbach collections as part of the trousseau of Princess Anna Catherine Konstancja Wazówna, who in 1642 married the Neuburian prince Philip Wilhelm. It was included in the collection of portraits of members of the Jagiellonian family, that Wazówna took with her to Bavaria. However, it was painted in circumstances different from other portraits and is a work with a different artistic genesis. This portrait unearthed in the Munich collection not only greatly enriches the existing iconography of the last Jagiellonian, but it also makes a significant contribution to our knowledge of royal patronage.

scholarly journals Wejście smoka

2019 ◽  
pp. 393-398
Author(s):  
Maria Poprzęcka
Keyword(s):  
Critical Thinking ◽  
Title I ◽  
Art History ◽  
Academic Life ◽  
Annual Conference ◽  
Academic Institutions ◽  
Art Historians ◽  
Heated Debate ◽  
History Of ◽  
Polish Art

The paper is a reminiscence of my first meeting with the colleagues from the Institute of Art History of Adam Mickiewicz University, which took place at an annual conference of the Association of Art Historians in 1974, titled “Reflection on Art.” Choosing an unusual title, I wanted to convey the impetus with which a group of young art historians from Poznań entered the decent and somewhat stagnant stage of Polish art history. The critique they presented was directed against Polish academic institutions, the problematic of the conference, the empty rituals of academic life, etc. Even though I did not accept all their objections, the heated debate suddenly turned out for me to be a liberating factor, stimulating continuous critical thinking which is an antidote for spiritual and intellectual captivity.

scholarly journals Dark Times: Art and Artists of Vilnius in 1939–1941

2020 ◽  
pp. 326-361
Author(s):  
Giedrė Jankevičiūtė
Keyword(s):  
Art Museum ◽  
Late Autumn ◽  
Nazi Occupation ◽  
Art Scene ◽  
Art Historians ◽  
Big Picture ◽  
Polish Art ◽  
Under Construction ◽  
The City ◽  
Art School

The aim of this paper is to discuss and reconstruct in general features the reality of the Vilnius artistic community from late autumn 1939 to June 1941. This period of less than two years significantly changed the configuration of the artistic community of the city, the system of institutions shaping the art scene as well as the artistic goals. It also brought forth new names and inspired new images. These changes were above all determined by political circumstances: the war that broke out in Poland on 1 September 1939; the ceding of Vilnius and the Vilnius region to Lithuania; two Soviet occupations: in the autumn of 1939 and June 1940, and the subsequent Nazi occupation a year later. The influence of politics on the art scene and the life of artists has been explored in institutional and other aspects by both Lithuanian and Polish art historians, but the big picture is not yet complete, and the general narrative is still under construction. A further aim of this paper is to highlight some elements that have not received sufficient attention in historiography and that are necessary for the reconstruction of the whole. Some facts of cooperation or its absence among artists of various ethnicities are presented, and the question is raised on the extent to which these different groups were affected by Sovietisation, and what impact this fragmentation had on the city’s art scene. The timeline of the activity of the higher art school and the Art Museum has been detailed.

Structural analysis of the surface-layer protein of spirillum serpens by high-resolution electron microscopy

1983 ◽  
Vol 41 ◽  
pp. 738-739
Author(s):  
W. H. Wu ◽  
R. M. Glaeser
Keyword(s):  
Electron Microscopy ◽  
Surface Layer ◽  
Structural Analysis ◽  
High Resolution ◽  
Low Dose ◽  
High Resolution Electron Microscopy ◽  
Optical Diffraction ◽  
Surface Layer Protein ◽  
Morphological Unit ◽  
Resolution Electron

Spirillum serpens possesses a surface layer protein which exhibits a regular hexagonal packing of the morphological subunits. A morphological model of the structure of the protein has been proposed at a resolution of about 25 Å, in which the morphological unit might be described as having the appearance of a flared-out, hollow cylinder with six ÅspokesÅ at the flared end. In order to understand the detailed association of the macromolecules, it is necessary to do a high resolution structural analysis. Large, single layered arrays of the surface layer protein have been obtained for this purpose by means of extensive heating in high CaCl2, a procedure derived from that of Buckmire and Murray. Low dose, low temperature electron microscopy has been applied to the large arrays.As a first step, the samples were negatively stained with neutralized phosphotungstic acid, and the specimens were imaged at 40,000 magnification by use of a high resolution cold stage on a JE0L 100B. Low dose images were recorded with exposures of 7-9 electrons/Å2. The micrographs obtained (Fig. 1) were examined by use of optical diffraction (Fig. 2) to tell what areas were especially well ordered.

RNA polymerase: Preparation and structural analysis of helical polymers

1984 ◽  
Vol 42 ◽  
pp. 152-153
Author(s):  
E. Loren Buhle ◽  
Pamela Rew ◽  
Ueli Aebi
Keyword(s):  
Structural Analysis ◽  
Rna Polymerase ◽  
Molecular Level ◽  
X Ray Diffraction ◽  
Helical Polymers ◽  
X Ray ◽  
E Coli ◽  
The Past ◽  
Ordered Arrays ◽  
Low Ionic Strength

While DNA-dependent RNA polymerase represents one of the key enzymes involved in transcription and ultimately in gene expression in procaryotic and eucaryotic cells, little progress has been made towards elucidation of its 3-D structure at the molecular level over the past few years. This is mainly because to date no 3-D crystals suitable for X-ray diffraction analysis have been obtained with this rather large (MW ~500 kd) multi-subunit (α2ββ'ζ). As an alternative, we have been trying to form ordered arrays of RNA polymerase from E. coli suitable for structural analysis in the electron microscope combined with image processing. Here we report about helical polymers induced from holoenzyme (α2ββ'ζ) at low ionic strength with 5-7 mM MnCl2 (see Fig. 1a). The presence of the ζ-subunit (MW 86 kd) is required to form these polymers, since the core enzyme (α2ββ') does fail to assemble into such structures under these conditions.

Interpreting HVEM of muscle-cell impulse networks

1992 ◽  
Vol 50 (1) ◽  
pp. 126-127
Author(s):  
Paul DeCosta ◽  
Kyugon Cho ◽  
Stephen Shemlon ◽  
Heesung Jun ◽  
Stanley M. Dunn
Keyword(s):  
Structural Analysis ◽  
Muscle Cell ◽  
Electron Micrographs ◽  
Relative Size ◽  
Automatic Classification ◽  
Nerve Fibers ◽  
Analysis Algorithm ◽  
Structural Networks

Introduction: The analysis and interpretation of electron micrographs of cells and tissues, often requires the accurate extraction of structural networks, which either provide immediate 2D or 3D information, or from which the desired information can be inferred. The images of these structures contain lines and/or curves whose orientation, lengths, and intersections characterize the overall network.Some examples exist of studies that have been done in the analysis of networks of natural structures. In, Sebok and Roemer determine the complexity of nerve structures in an EM formed slide. Here the number of nodes that exist in the image describes how dense nerve fibers are in a particular region of the skin. Hildith proposes a network structural analysis algorithm for the automatic classification of chromosome spreads (type, relative size and orientation).

Searching for the causes why some of the paintings by Mihaly Munkacsy are darkening

1990 ◽  
Vol 48 (2) ◽  
pp. 204-205
Author(s):  
Imre Pozsgai ◽  
Klara Erdöhalmi-Torok
Keyword(s):  
Electron Beam ◽  
Cross Section ◽  
Polyester Resin ◽  
National Gallery ◽  
X Ray ◽  
Art Historians ◽  
Made In ◽  
Grinding And Polishing

The paintings by the great Hungarian master Mihaly Munkacsy (1844-1900) made in an 8-9 years period of his activity are deteriorating. The most conspicuous sign of the deterioration is an intensive darkening. We have made an attempt by electron beam microanalysis to clarify the causes of the darkening. The importance of a study like this is increased by the fact that a similar darkening can be observed on the paintings by Munkacsy’s contemporaries e.g Courbet and Makart. A thick brown mass the so called bitumen used by Munkacsy for grounding and also as a paint is believed by the art historians to cause the darkening.For this study, paint specimens were taken from the following paintings: “Studio”, “Farewell” and the “Portrait of the Master’s Wife”, all of them are the property of the Hungarian National Gallery. The paint samples were embedded in a polyester resin “Poly-Pol PS-230” and after grinding and polishing their cross section was used for x-ray mapping.

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